The Art of the Festival Running Order: Mastering Set Times and Stage Scheduling

Every festival lives and dies by its running order – the timetable of who plays when and where. Getting this schedule right is an art form that can elevate a good event into an unforgettable experience. A well-crafted running order keeps crowds flowing smoothly, minimizes frustration over set time clashes, and ensures the energy on-site never dips. This guide shares hard-earned wisdom from veteran festival producers on how to design set schedules that strike the perfect balance between excitement and practicality.

Understanding the Running Order

The running order is far more than a list of set times – it’s the backbone of the entire festival experience. How acts are scheduled across multiple stages and days determines crowd movement, vendor sales peaks, and attendee satisfaction. Festival organizers must juggle artist availability, production logistics, and fan expectations to create a timetable that works for everyone. A strong running order will:

• Maintain Crowd Energy: Alternate high-energy and slower acts appropriately so the audience isn’t exhausted too early, especially at electronic music festivals where dancing for hours is the norm.
• Minimize Downtime: Keep music continuous (especially on major stages) with minimal dead air, while still allowing reasonable breaks for stage changeovers and attendee rest.
• Enhance Festival Flow: Encourage attendees to explore different stages without chaos, and prevent mass migrations that strain infrastructure. In essence, the schedule should guide people naturally around the venue.

Crafting such a schedule is complex. The larger and more international the festival, the tougher it gets – but smart scheduling choices make all the difference. Next, we delve into those choices in detail.

Managing Peaks with Overlapping Set Times

One key strategy is using overlapping set times to spread out crowd peaks. Rather than having every stage’s performances start and end simultaneously (which causes huge surges of people moving all at once), top festivals stagger their set times. For example, Stage A’s DJ might begin their set at 8:45 PM while Stage B’s band finishes at 9:00 PM. This overlap means the crowd relocation happens gradually instead of in one big wave. The benefits are significant:

• Reduced Congestion: Staggered endings prevent tens of thousands of people from flooding food stalls, bathrooms, or exits all at the same time. Attendees trickle between stages, easing pressure on walkways and facilities.
• Continuous Entertainment: A slight overlap ensures there’s always music playing somewhere. Attendees who leave one set a bit early to catch the next act still hear music en route. This maintains the event’s energy and avoids lulls.
• Crowd Distribution: Overlaps let you strategically split the audience. If two popular acts overlap by 15 minutes, the most die-hard fans will make a choice and move earlier, while others stay put – resulting in a more balanced attendance across stages.

However, overlapping must be done thoughtfully. It works best when the two acts aren’t “must-see” for the exact same fans (more on that later). Minor overlaps (e.g. 5–15 minutes) can be enough to spread out foot traffic without making fans feel they’re missing too much. Some festivals even stagger their headline acts slightly – such as one stage ending at 11:00 PM and another at 11:30 PM – so that the entire crowd doesn’t eject at once, which is safer and more manageable for security.

It’s worth noting that not all festivals choose to overlap sets. A few boutique and genre-specific festivals opt for a no-overlapping-sets format, meaning one stage goes silent while another is active. This approach, used by events like the All Good Festival (USA) in the jam-band scene, creates a unified, communal vibe where everyone watches the same act together. Fans love not having to choose between artists – but the trade-off is that crowd peaks will be higher (everyone moves as one mass between stages) and the total schedule may run longer into the night to fit all acts sequentially. For most large festivals, completely avoiding overlaps isn’t practical, so the art lies in how to overlap sets in a smart way.

Avoiding Genre Fan Clashes

While overlapping set times help manage crowds, constant clashes between similar artists can leave attendees frustrated. A golden rule of scheduling is to avoid punishing fans of a particular genre by making all their favorite acts play at the same time. In practice, this means mapping out your lineup by genre or likely audience group and staggering those acts in the timetable. Some guidelines:

• Don’t double-book fan favorites: If two big trance DJs or two popular hip-hop artists are on your bill, try not to schedule their sets concurrently. The same goes for legendary bands – true fans will resent being forced to pick one over the other.
• Group by genre or vibe: Festivals often dedicate stages to certain genres (e.g. a house music stage, a techno stage). If that’s the case, schedule each stage independently so that within that genre there are no overlaps. Attendees can camp at the stage they love without conflict. If stages are mixed genre, be extra mindful – for instance, avoid putting the only two heavy metal acts of a festival in overlapping slots on different stages.
• Use data and intuition: Experienced festival producers think about the fan crossover between artists. Analyze past attendee feedback or online forums to catch potential clashes that would upset ticket-buyers. For example, if you know a large portion of your crowd loves both Artist A and Artist B, try placing them apart in time (or even on different days) to let fans enjoy both.

A real-world example: At multi-stage events like Lollapalooza in Chicago or Reading Festival in the UK, organizers pay attention to which stages are close together and which artists draw similar crowds. In 2019, Lollapalooza scheduled the Tito’s Stage and Bud Light Stage with completely disjointed times because those two stages were side by side and catered to a similar indie music crowd. This way, fans could simply turn around and catch the next act without a painful choice – and it prevented sound bleed between adjacent stages. On the other hand, they might schedule a pop act opposite an EDM act on purpose, figuring those audiences overlap less.

Balance is key: Some scheduling conflicts are inevitable, especially at giant festivals with dozens of acts. Veteran organizers will tell you it’s about minimizing the worst clashes. Spread out the marquee names so that, ideally, each major genre or fan demographic has one big act to enjoy at any given time slot, rather than two or three simultaneous. When clashes do happen, consider the scale: two niche artists overlapping is more acceptable than two headliners overlapping. By respecting genre groupings and fan loyalties, you show your audience that you value their experience – and you’ll hear far fewer complaints about “schedule torture” on social media when set times go live.

Timing Your Schedule Announcement

Deciding when to publish the set times is another art in itself. Festival organizers often walk a tightrope between staying flexible for last-minute changes and giving attendees enough time to plan their adventure. Here are some considerations for timing your schedule release:

• Stay Flexible for Changes: It’s common for lineup changes or logistical tweaks to occur in the final weeks before a festival. An artist might cancel, a stage might need an altered changeover time, or a production element forces a schedule shift. Keeping the detailed schedule under wraps until relatively close to the event gives you the flexibility to make adjustments without confusing or disappointing fans. If you release set times two months in advance and then half of them change, attendees who planned around the first version will be upset.
• Give Fans (Just) Enough Notice: On the other hand, ticket holders (especially those traveling from far away) appreciate having the schedule with enough lead time to make plans. They might choose which day to attend (for festivals offering single-day tickets), arrange travel and accommodation around must-see acts, or simply schedule their meet-ups and meal breaks during less important sets. For major destination festivals, aim to publish the schedule at least 1–2 weeks before the event. This window strikes a balance: it’s close enough to factor in most late changes, yet gives travelers a week or two to sort out logistics.
• Consider the Audience and Location: If your festival draws a local crowd and is a single-day event, announcing set times a few days in advance might be sufficient. However, if it’s a multi-day international festival (think along the lines of Tomorrowland in Belgium or Ultra Music Festival in Singapore) where fans fly in from other countries, err on the side of an earlier release. Those attendees might need to know if their favorite DJ is playing early afternoon or late night to plan flights and lodging.

In practice, many large festivals keep schedule releases fairly late – often within the last 7–10 days before kickoff – because they know how frequently things change. Some even release only via their official app just a week out, both to manage expectations and to encourage downloads of the app. Communication is critical: whenever you do publish the schedule, broadcast it widely (email your ticket buyers, push notifications via your festival app, social media posts, etc.) so no one misses the update. And include a note that “set times are subject to change” to give yourself a little leeway if a last-minute shuffle is needed.

Real-World Logistics: Walking Times Matter

A festival schedule might look perfect on paper (or on a map), but the real test is how it works on the ground. One oft-overlooked factor is walking time between stages. As a festival organizer, it’s essential to test your planned schedule against the actual time it takes for an attendee to get from Stage X to Stage Y – not the distance as the crow flies, but in real conditions amidst crowds, terrain, and obstacles.

Imagine you’ve scheduled a popular bass DJ to end at 10:00 PM on one stage, and a much-loved techno act to start at 10:05 PM on the far side of the festival grounds. On paper, those sets barely overlap – great, no conflict! But if it takes 15 minutes for a fan to hustle from one stage to the other (maybe 10 minutes walking plus 5 minutes navigating through a dense crowd or a muddy field), a huge portion of the audience will miss the start of that techno act. They might leave the first set early (dimming the energy of that finale) or show up late to the next (missing part of the experience and causing a late influx that can disrupt crowd flow at the second stage). Neither outcome is ideal.

How to get it right? During site planning and early rehearsals, do a walk (or a brisk jog) between all major stage pairings and time it. Account for real-world conditions: at a massive camping festival like Glastonbury (UK) or Rock in Rio (Brazil), crowds move slowly, and people might be tired by day 3. Uphill paths, bottleneck points like narrow bridges, or security checkpoints between areas can all add unexpected minutes. If your venue is an open field (like EDC Las Vegas at the motor speedway or a sprawling beach festival in Goa, India), distance and weather (heat, rain) also play roles in walking speed.

Once you know the typical transit times, build buffer minutes into the schedule for key artist transitions. For instance, if Stage 1 and Stage 2 are far apart, you might end Stage 1’s act at 8:45 and only start Stage 2’s headliner at 9:00, giving a 15-minute travel window. Some festivals even explicitly mention in their programs things like “10-minute walk from Stage A to Stage B” to set fan expectations.

Also, consider sight lines and entry/exit points at stages. If two big stages are adjacent, staggering their end times by just 5 minutes can prevent both crowds from dumping out and intermingling at once (a potential security hazard). If stages are on opposite ends, maybe you can schedule a quieter act or a DJ set on one while a big act ends on the other, so that a portion of attendees move while others stay put.

In short, sync the schedule with the physical reality of your venue. A festival site isn’t a grid on paper – it’s a dynamic environment. Testing walking times and watching for clash points will help you refine set times so fans aren’t literally running from one stage to the next. Your goal is a smooth flow, where a short trek between stages becomes a fun part of the adventure, not a stressful sprint.

Tailoring to Festival Size and Type

Not all festivals are created equal, and the approach to running order should adapt to the nature of the event. Here are a few scenarios illustrating how schedule strategy might change:

• Small Single-Stage or Boutique Festivals: At intimate events – say a local jazz festival or a boutique electronic music gathering in New Zealand – you may only have one stage (or two alternating stages). In these cases, overlaps are unnecessary; in fact, organizers often pride themselves on a no-clash schedule so that the entire audience can enjoy every performance. The running order here is about sequence and vibe progression (e.g. acoustic acts in the afternoon, high-energy bands or DJs closing the night) rather than conflict management. The goal is unity and a shared experience, so schedule accordingly and allow breathing room between sets for people to grab a drink or chat.
• Mega Multi-Stage Festivals: Large-scale festivals (think Tomorrowland, Glastonbury, Coachella, or EDC) feature many stages and dozens if not hundreds of artists. It’s impossible to avoid overlaps when you have five, ten, or even sixteen stages running. For these events, the emphasis shifts to smart overlaps – applying all the principles discussed: staggering start/end times, grouping similar genres to minimize painful choices, and designing the entire day like a matrix of musical journeys. These festivals often employ dedicated scheduling teams or software to fine-tune the timetable. The sheer scale also means considering things like day vs. night programming (e.g. at an EDM festival, perhaps keep trance music to one stage in the evening and bass music on another in late night, so those fan groups can enjoy a continuous block without clash). Additionally, big festivals might program shorter sets for lesser-known acts earlier in the day (to fit more in) and longer sets for headliners, which affects how you stagger the schedule.
• Urban & Multi-Venue Festivals: Some festivals aren’t confined to one gate-controlled space, but spread across a city’s venues or clubs (for example, Amsterdam Dance Event in the Netherlands or SXSW in the US). Here the “venue hopping” nature means travel time could include public transport or walking city blocks. Organizers should schedule with generous gaps for transit and consider staggering set times so that a fan could realistically catch a show at Venue A and then another shortly after at Venue B downtown. Communication is also crucial – use festival apps or city maps to help attendees navigate quickly. In these cases, publishing the schedule earlier is wise so attendees can map out their personal routes across town.
• Different Audiences & Cultures: Tailor your running order to the lifestyle of your core audience. A family-friendly cultural festival in France might start early in the morning with kid-oriented performances and end by evening, whereas a hardcore techno festival in Germany or an underground rave in Indonesia might peak at 2 AM. Know when your audience is most active. Younger crowds may be willing to dash between stages and stay up all night, so tighter overlaps are feasible. An older or mixed-age crowd might appreciate fewer overlaps and a bit more rest time. Also consider local norms: in Spain, festivals might run later into the night because people are used to late dinners and nightlife, whereas in Australia noise curfews often force an earlier end – affecting how you schedule headliners and breaks.

In essence, match the scheduling style to your festival’s identity. The “art of the running order” isn’t one-size-fits-all. It requires understanding your event’s unique selling points, whether that’s an ultra-curated one-stage experience or a smorgasbord of genres on many stages. By aligning the schedule with the festival’s character and audience expectations, you create a smoother experience and a stronger brand identity for your event.

Building Flexibility and Contingencies

Even the best-laid schedules can face disruptions. A festival producer’s job doesn’t end once the schedule is printed – you need to manage it in real time and be ready with backup plans. Here are some practical tips to stay agile and handle the unexpected:

• Allocate Buffer Slots or Gaps: If possible, build a few short gaps into your schedule, especially on major stages. This could be a 10-minute “changeover DJ” playing background music, or simply a slightly extended break between two sets. These buffers can absorb delays if an earlier act runs over their time or if there’s an technical issue that pauses a stage. It’s far less chaotic to catch up 5 minutes here or there than to have every subsequent act start late.
• Have Standby Entertainment: For large festivals, consider having a standby performer or DJ who can fill an emergency gap (for example, if an artist is late arriving or an act cancels last-second). It could be a local DJ, a roaming performance troupe, or even your MC who can engage the crowd. This keeps attendees entertained and buys you time to fix the issue behind the scenes.
• Coordinate Communication: Make sure stage managers, artist liaisons, and production crews are all on the same page with the schedule. Equip them with radios or a messaging system to instantly communicate any changes. If one stage is running 10 minutes late because of a technical delay, perhaps you can slightly adjust another stage to avoid a massive clash that wasn’t intended – but that requires tight communication and quick decision-making by the production team.
• Inform Attendees of Changes: In the digital age, real-time updates to your audience are feasible and expected. Utilize your festival’s mobile app, website, and social media to push out updates if set times shift or artists cancel/are replaced. For example, if a storm delay pauses the festival for 30 minutes, update the crowd on the new timings once things resume. If you’re using a ticketing platform like Ticket Fairy, you can send notifications directly to all ticket holders’ phones to inform them of major schedule adjustments. Clear and prompt communication can turn a potential fiasco into a minor hiccup in attendees’ eyes, because they feel taken care of and in-the-know.
• Learn and Iterate: Treat each day of a multi-day festival as a learning opportunity. Did a particular overlap on Day 1 cause more trouble than anticipated (e.g. an unexpected traffic jam of people)? Adjust Day 2’s times if you can. Is one stage consistently running late? Maybe tighten up changeovers or trim a later set by a few minutes (with artist agreement) to get back on track. Experienced festival organizers often debrief each night to tweak the next day’s schedule or operations. While you might not be able to overhaul set times mid-event dramatically, small tweaks can help, and any insights gained should be noted for next year’s planning.

Crucially, maintain a composed, problem-solving mindset during the festival. Attendees will take schedule changes in stride if they see the festival staff handling them calmly and professionally. Flexibility, both in planning and execution, is a festival producer’s best friend.

Conclusion

Designing the perfect festival running order is like conducting an orchestra – it requires timing, harmony, and attentive tuning in real time. By overlapping set times wisely, you keep the melody of the event flowing and avoid jarring spikes of overcrowding. By respecting genres and fan loyalties, you ensure no attendee feels left out or torn in two directions all weekend. And by timing your set list release and testing your plans against real-world conditions, you set the stage for a smooth performance long before gates open.

Remember that every festival – whether a 500-person local gathering or a 200,000-strong international extravaganza – has its own rhythm. The best festival organizers listen to that rhythm: they know their audience, venue, and artists, and they schedule accordingly. They also know that surprises will happen, and it’s all about adapting with grace under pressure.

As the next generation of festival producers takes the reins, take these hard-earned lessons to heart. A great lineup may get people in the door, but a great running order keeps them happy, safe, and fulfilled throughout the event. Plan it with care, stay flexible, and don’t be afraid to get creative – that’s the art of the festival running order. Master it, and your festival will be on track to hit all the right notes.

Key Takeaways

• Stagger and Overlap Strategically: Don’t start and end all sets at once. Overlapping set times (with slight staggers) help disperse crowds gradually, reducing bottlenecks at stages, exits, and amenities.
• Avoid Same-Genre Clashes: Be mindful of artist fan bases. Try not to schedule two big acts of the same genre or shared audience at the same time. Give fans a chance to see all their favorites when possible.
• Time the Schedule Release Wisely: Release your set times once most details are locked in – late enough to accommodate changes, but early enough that attendees (especially those traveling) can plan. A week or two before the festival is a common sweet spot.
• Test with Real Walking Times: Don’t rely on maps alone. Physically check how long it takes to go from stage to stage and factor that into your schedule. Ensure there’s enough transit time between popular back-to-back acts on different stages.
• Adapt to Your Festival’s Scale: One size doesn’t fit all. Small single-stage events may have no overlaps by design, while huge festivals must overlap heavily. Tailor your running order to the festival’s size, genre focus, and audience behavior.
• Build in Buffers and Backups: Include short breaks or filler content to absorb delays. Have a backup plan (opening DJs, flexible set lengths, standby acts) for unexpected problems so the show can go on.
• Communicate and Stay Flexible: Use apps, notifications, and signage to inform attendees of any schedule changes in real time. Be ready to adjust on the fly if needed, and coordinate tightly with your team to keep things running smoothly.
• Learn and Improve: Pay attention to what scheduling choices worked or didn’t. Fan feedback and your team’s observations will guide you in refining the running order for future events. Scheduling is an evolving art – keep honing it with each festival you produce.